Past shows at Globe Theatre, London

Hedda Gabler is a play first published in 1890 by Norwegian playwright Henrik Ibsen. The play premiered in 1891 in Germany to negative reviews, but has subsequently gained recognition as a classic of realism, nineteenth century theatre, and world drama. A 1902 production was a major sensation on Broadway starring Minnie Maddern Fiske and following its initial limited run was revived with the actress the following year.
The character of Hedda is considered by some critics as one of the great dramatic roles in theatre and some portrayals have been very controversial, especially in the New Zealand play &quot;2B or not 2B&quot; where a male plays Hedda. Depending on the interpretation, Hedda may be portrayed as an idealistic heroine fighting society, a victim of circumstance, a prototypical feminist, or a manipulative villain.
Hedda's married name is Hedda Tesman; Gabler is her maiden name. On the subject of the title, Ibsen wrote: &quot;My intention in giving it this name was to indicate that Hedda as a personality is to be regarded rather as her father's daughter than her husband's wife.&quot;

Show Boat is a 1927 musical in two acts, with music by Jerome Kern and book and lyrics by Oscar Hammerstein II. Based on Edna Ferber's bestselling novel of the same name, the musical follows the lives of the performers, stagehands, and dock workers on the Cotton Blossom, a Mississippi River show boat, over forty years, from 1887 to 1927. Its themes include racial prejudice and tragic, enduring love. The musical contributed such classic songs as &quot;Ol' Man River&quot;, &quot;Make Believe&quot;, and &quot;Can't Help Lovin' Dat Man&quot;.
The arrival of Show Boat on Broadway was a watershed moment in the history of American musicals. Compared to the trivial and unrealistic operettas, light musical comedies, and &quot;Follies&quot;-type musical revues that defined Broadway in the 1890s and early 20th century, Show Boat &quot;was a radical departure in musical storytelling, marrying spectacle with seriousness&quot;. According to The Complete Book of Light Opera:
&quot;Here we come to a completely new genre – the musical play as distinguished from musical comedy. Now... the play was the thing, and everything else was subservient to that play. Now... came complete integration of song, humor and production numbers into a single and inextricable artistic entity.&quot;